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Category: tribes

The Page and the Item: The Dynamics of Context and Collection

songs-of-innocence-title-page-william-blake

In thinking about building things on the web, I stopped to consider the raw materials from which we build. HTML markup retrieved from a web server and rendered by a browser, that’s where it all started. But even at that early moment, there was the implied structure of the document. The markup that existed was there to render visible the form of the academic paper. Headings, paragraphs, quotations, tabular data display– these are the formal elements of the document.

And very early on, the metaphor of the page gained purchase. We nodded our heads and spoke of the ‘web page.’ The static web page and the static book page have similar kinds of boundaries. The web page could theoretically be infinitely long, but the usability experts indicated that users didn’t scroll much beyond the length of a book’s page. And just like that, an infinity was tamed. The edge of the world was discovered.

As the content on a web page became dynamic, infinity migrated to the combinations and permutations a database could produce. As long as the data continued to grow and change, the items presented in a particular page could be of an infinite variety. The boundaries to the north, south, east and west remained consistent with the book’s page, but the objects emerging from the depths of the backend could be practically without end.

The document and the page have been structurally ingrained into the architecture of content management systems such that the smallest building block becomes a page linked to a hierarchical document tree. The elements that can be placed into a page are those for which the system has templates. And while most systems allow the manual writing and insertion of raw HTML, it’s a practice that is discouraged because it ruins the uniformity of the CMS’s output. The content management system is an industrial machine for creating hierarchically organized sets of pages.

The other major organizational structure on the web is time-sequenced content. To some extent, news media takes this approach to organization, new material is published each day to replace the material from the previous day. What’s lacking in the model is the continuity of sequence. Yesterday’s news is fish wrap, rather than the next step in a sequence. Blog posts and Tweets (micromessages) have the form of a sequenced set of texts by an author or group of authors. In this sense they are more like the output of a columnist or the writer of serial fiction. Blog posts can also be assigned categories and tags so that they can be sequenced across other conceptual frames. Tweets don’t have the extra infrastructure to house categories and tags, so the practice of adding a hashtag has been bolted on. More elegant solutions like the original track feature have failed to resurface.

Rather than referring to time-sequenced pages, here we more commonly talk about items in a feed. We’re interested in the source of the feed in order to gauge its authority, along with it’s velocity and trajectory. And unlike a hierarchical organization of pages, the items in a time-sequenced feed need have no semantic relationship to each other. The items are such that they can be organized in an arbitrary large variety of collections either within a particular feed or among a diverse set of feeds.

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The page and the item converge at the URL (Uniform Resource Locator). Because of our page-centric view of the web, here we’d like to say this is the point where the item becomes a page. And yet, the web becomes much more interesting if we resist this temptation. The item has no native context, the page wants to own its context. The item allows the user to create a collection, a playlist, a feed that suits her own needs, wants and desires. The page needs to reinforce the hierarchy of which it is a part. The key to the dynamic context of the item is that it both has a URL and can contain a URL, and it doesn’t have a single right context.

Information architecture has largely concerned itself with pages and hierarchies, and the economics of the web have centered around the page-view model. As the item begins to emerge as a basic building block, it will be very interesting to see what kind of economics and architectural patterns arise. The containers, the playlists, where we assemble items will command an interesting new role in the assignment of context. And in this landscape, the item and the context are always already social, two-way and dynamic.

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The Silo & The Pipe: Doc Searls gets Venezuelan

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It’s a rare thing that I read a Doc Searls post and start shaking my head half way through. The recent $100 million investment in Twitter, bringing their valuation to $1 billion, has unleashed  a torrent of criticism. Driving my daughter to school the other day, I heard an “analyst” on NPR chirp that Twitter couldn’t be worth $1 billion because it was just a fad, that people might stop using it tomorrow and the bottom would fall out. If using Twitter were a random activity that returned no value, I suppose that could be true. Just as people could decide to stop going to the movies, stop eating pizza or stop listening to “analysts” on NPR. If the value of something is disregarded at the start, it’s rather difficult to speak sincerely of valuation.

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Searls’s criticism is a reprise of the open source silo meme. The drumbeat for the nationalization of Twitter has re-emerged. The capitalist pigs at Twitter have chosen to build a business rather than contribute their technology to the open source technology commons. Praise is sung for linux, rss, email and http. If only Twitter would see the light and release what they have to benefit the common good. Twitter’s business is just lumber from which other software developers should be allowed to create value. The complaint is that because Twitter is neither open nor decentralized, it has created an intractable engineering problem and does not contribute to the greater good of the web.

I would contend that Twitter is both open and distributed. Its characterization as a silo misses the point. Rather than using the silo as a criteria for openness, what if we look instead to the pipe. In the Unix command line, the standard output can be piped to the standard input of a new filter. Some very complex forms of processing can be created by chaining together a series of filters and piping data through it. The “chainability” of the javascript library Jquery is another good example of this model. The critique of the silo is its lack of interoperability, you can’t pipe to or from it.

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Now, let’s look at Twitter. Can you pipe messages to Twitter? Can you pipe messages from Twitter? There was a time when I used Identi.ca as a primary micromessaging client. I typed messages into the Identi.ca web client and they entered the local pool, then I piped them to FriendFeed, where they also entered that ecosystem, FriendFeed sent them to Twitter, and Twitter sent them to Facebook. Examining this relay chain could you say that Twitter is a silo that owns my messages? Each of these venues represents a slightly different social graph and has a different tool set with which to display, prioritize and filter my messages within the context of the local graph. Twitter and Facebook are simply the most successful venues with which to read and write micro-messages (formerly called status messages). Google reader shares, SMS messages, Blog entries, et cetera can all be piped in and out of Twitter. Or if one prefers, Twitter can be left out of the chain entirely.

The mind share that Twitter and Facebook have built can’t be nationalized and distributed as lumber for a hypothetical socialist realist distributed micro-messaging ecosystem. If one is truly interested in open, look to the pipe, not the silo. Certainly there’s work that needs to be done on the pipe itself. Issues around real time, rate limiting, identity, social graphs, micro-communities, activity stream formats and track are all very important. But the real time stream environment is already here and operational. Many in the open source crowd are just rewinding the VCR and replaying the last battle. Steve Ballmer summed it up nicely in his interview with Mike Arrington, “we want to be first, best and interoperable.” Even Microsoft has embraced the pipe.

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High And Low Culture: The Price of a Ticket

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I’m a fan of the opera. And generally when I bring it up in normal conversation, I can see a barrier form. Opera is high art, high culture, expensive— it’s for rich people, old money preferred. There’s a very thick wall between most people and attending an opera. When examined from a monetary perspective, the results are quite interesting. Buying a single ticket (without a season’s subscription) to see an opera at the San Francisco Opera will cost you between $15 and $210. If you’d like to sit in a box seat, it’ll cost $275.

If you wanted to see the band U2 in a stadium this summer, a single ticket will set you back between $30 and $250. A Bruce Springsteen ticket will cost you between $29 and $89. Rock and Roll was originally considered low art, low culture— something on the fringe of popular culture. Through the 60s and 70s, it slowly moved to the mainstream of popular culture. Pop culture is abundantly distributed in multiple distribution formats, it’s on the radio and television. You can buy it on CD and MP3 download, and you can preview it on Lala.com or YouTube.com. The price of a ticket is related to the phenomena of scarcity. There are only so many performances, and a fixed number of seats available for each performance.

Of course, opera was popular entertainment and part of popular culture for many years. However now, more often than not, it’s used as a signal of class differential.

The barrier that some feel when approaching opera isn’t related to the ticket price. For a medium priced seat there’s no difference between grand opera and any other popular entertainment. It has to do with the distribution of the free part of opera. Popular music is sampled widely to create a demand for performances and sales of recordings. There’s a dynamic feedback loop between exposure to an art form and interest in an art form.

Many people find baseball boring because they don’t understand the nuances of the game. It seems like nothing happens for inning after inning. And then, there’s a quick flurry of activity, and then back to nothing. A single ticket to a baseball game falls into the same range as an opera or rock concert ticket. To see the Giants (for a premium game), your ticket will cost you between $25 and $135.

Baseball, rock music and opera all depend on their stars to draw and audience. For the San Francisco Giants, I might prefer going to a game where I know that Tim Lincecum is pitching and that Pablo Sandoval will be in the line up.

If I get to see these players, I know that my chances of seeing something spectacular are much higher. It’s that possibility of excitement combined with the scarcity of the performance and the limited number of seats that defines the value/price of the event.

Opera also depends on its stars to draw an audience, in particular, its divas. On Wednesday night, I attended a performance of Verdi’s Il Trovatore (The Troubador) at San Francisco Opera. Looking at the line up card, I could see that there was the possibility of seeing something spectacular. Nicola Luisotti at Conductor, Burak Bilgili as Ferrando, Sondra Radvanosvsky as Leonora, Dmitri Hvorostovsky as the Count di Luna and the great Stephanie Blythe as Azucena. The team delivered, as the last note faded the crowd leapt to its feet shouting bravo and brava.

The grand opera is often thought of as a refined entertainment, an art form that considers the higher values of our culture. But Verdi’s Il Trovatore is nothing more than animal passion unleashed. A Count orders an old Gypsy woman to be burned at the stake for practicing witchcraft. The gypsy’s daughter steals the infant son of the Count and throws it into a fire. A revolutionary war revolves around the passion two men feel about the beautiful Leonora. The Count di Luna obsessed with Leonora will commit any war crime to possess her. The gypsy Azucena will do anything to exact revenge for the death of her mother. These forces are unleashed without limit within the narrative of the opera. It’s the women that drive the story forward: Leonora and the men who lust after her; and the gypsy Azucena and her single-minded obsession with revenge.

Performances not to missed: Sondra Radvanosksy as Leonora. Here she is singing an aria from Il Trovatore:

Mezzo-soprano Stephanie Blythe also delivers as Azucena. Here she is in concert, singing an aria from Bizet’s Carmen:

This evening baseball and opera will intersect at AT&T park. In cooperation with the San Francisco Giants, San Francisco Opera will present a free HD simulcast of Il Trovatore at the ballpark. High culture and low culture mix and intermingle. Arias and hot dogs with plenty of mustard. Families spreading out a blanket on the infield and enjoying the high passion of Verdi’s opera. The gigantic emotions and passions of Il Trovatore will expand to fill the ballpark.

Here’s a preview of San Francisco Opera’s Il Trovatore:

Earlier this year, the Giants and SF Opera presented Puccini’s Tosca at the Ballpark. About 30,000 people showed up to enjoy the show. I expect to see a similar turn out for Il Trovatore. After Tosca was over, and the crowd began to leave, I noticed a young girl turn to her mother and say, “that was a great opera Mom.”

See you at the show.

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Edward Kennedy (1932 – 2009)

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The Swan

by Rainer Maria Rilke

This clumsy living that moves lumbering
as if in ropes through what is not done,
reminds us of the awkward way the swan walks.
And to die, which is the letting go
of the ground we stand on
and cling to every day,
is like the swan,
when he nervously lets himself down into the water,
which receives him gaily
and which flows joyfully under
and after him, wave after wave,
while the swan,
unmoving and marvelously calm,
is pleased to be carried,
each moment more fully grown,
more like a king, further and further on.

translated by Robert Bly

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